Here is a piece I have kept around for quite some time. It is VERY VERY great. Tip size at .103 is quite in the middle of optimal for the compromise of power and center. This setup is very close to my personal daily player. It is bright, warm, has focus, but also spread, and an ocean of color. I would say this is not at all a dark piece, but it is just a hair backed off of the far end of bright on the spectrum just due to the influence of the bog body of sound this one has.
This still has a lot of its original gold plating on the body. While there are always different flavors to be found, in my experience there is no better double ring to be found. This is the thing and mostly they cannot be found.
Here is a wonderfully constructed B&S tenor ‘2001’ model with the special G# regulator mechanism. This is a similar model to the early Guardala saxophones, but with some added key action engineering. These have a very powerful and full spectrum colorful sound with a very fast, clean, and punchy response. They have something of a following, no longer made and specifically great compared even with today’s newer designs.
The condition of the lacquer (original) and the horn itself are outstanding, mint condition and almost new by any standards. The pads are excellent as well, it is exceptionally fun to play, and not really easy to find.
Here we have a very nice original example of the earliest Florida model of hard rubber Tone-Edge. The body of these is on the shorter side, a steep drop to the beak, and a specifically bevelled shank. The chamber is probably slightly smaller than NY versions and slightly larger than late Fl versions. This one is original with evident horizontal milling on the table, and original rail and baffle finish. The baffle is somewhat long and subtle rollover, and with a slightly high floor in general this piece really packs a punch. I played a vintage Rico 3 reed on this and it played both very fat, and also aggressive and edgy. Honestly I felt like I was playing a 7. This piece is missing nothing and delivers a crisp sound one can only get in smaller sizes. It has been played over years, which is not surprising due to the fact that it’s great. There were some tooth indentations on the bite area that I temporarily filled and patched over. Tip rails shows some action but I would not touch this. Plays, feels and works great.
Here is a rather hard to find serial number, early MK VI alto from around 1959. This is the tail end of the first example of the medium bow designs. The lacquer is obviously original, quite dark with a nice color. This horn has been sitting quite a while, has a lot of dust and eroded old pads. All the original metal tone-x resonators are present (only had rivets on the palm keys), neck is also original and serial numbered. There is some corrosion present but this will also come off easily enough. There have been some minor bruises over the years, the octave level was bent, but all the screws are free and it is ready to have a full overhaul as it currently is not at all playable. I may end up working on it at some point but someone else should probably get it going and play it before I take a long time to get to that point.
Nice original working musician’s 162k MK VI alto. This is a gig reliable medium bow horn, original neck and has some custom key risers added. As you can see it is not a closet horn but has lived a bit and shows some action. This is a similar design iteration as the later 140k altos with that even scale, impressive projection and tonal color.
Wonderful rare larger sized Double Ring FL at .111. This piece had been previously faced and recently adjusted by myself to a really optimal response. Although this piece is large (for me) it will play with the same reed I use on smaller facings and unsurprisingly sounds the same as my best smaller pieces, with the added air and fatness expected for am 8*. It is very difficult at this point to find any larger double rings, and most won’t play as exceptionally as this one.
This is Joshua Redman’s 62k MK VI tenor, original US lacquer and engraving and nearly mint condition. He used this on his reunion tour in 2002 with Brad Meldau, Christian McBride, and Brian Blade. He had this set up to his preference and the overhaul is tight and slick. This horn has a rather massive lush and complex vibe to it, delivered bright and immediate, wonderfully flexible. The photos you see here are before the overhaul, and he says a little cleaning might be in order after use on tour and sessions etc. It has been put through its paces by one of the best. See and hear it live here-
This horn is exactly as great as one would expect to have been selected among many by Joshua Redman. It is definitely among the best early VI’s to be found, still has a bit of SBA in it with that MK VI width and edge on the sound. This horn will include paperwork from Redman. I have the pleasure of helping him rearrange some horns. Feel free to message with questions and interest.
.Here, a very nice Meyer NY USA refaced to .076 by Ochuttio. It’s a nice player with both fullness and projection exactly as these are expected to be. Received this in a trade, will definitely be a happy piece for a player.
A very early FL blank with the very high and steep ledge drop to the beak, these are the first Florida slant models with facing stamped on the side. These have a slightly larger chamber and would trend slightly darker but with a significant baffle become powerhouses of complexity. This one was refaced to .103 by Ochuttio and plays very big and powerful. Should be a good deal for any player who wants to cut through with fatness and depth. Has some normal wear on the bite area that won’t affect anything but could be filled with minimal work.